highlike

MARIA MARTINS

“O impossivel”

They touch. They bite. They get warm. They penetrate. They are made. They get rid of. They stick their tongues in. They put the body in. They get body. They split up. They exist.
They want to be one. It is impossible (“O impossivel”). Which means that a single body, as you would like, is impossible. It can not. For a moment yes, for a moment they can. But no, they can’t. Impossible. They cannot be one. Despite the bites. Their bodies are different. They were born and will die self-absorbed, in themselves. Between them there is an abyss, a discontinuity. But they want to be continuous, they want their bodies to be one body. Since they cannot, they celebrate the sacrifice of the meat. “Essentially,” says Georges Bataille, “the field of eroticism is the field of violence, the field of rape.” Isn’t it violent, perhaps, to want to break the discontinuity of the other closed in on itself? Isn’t it violent to force the discontinuity of the other to be a continuous whole with him? O impossível by the Brazilian Maria Martins (1894/1973) shows the excesses of sex (take note: excess, sex). Or impossível is the moment in which the organs swell with blood and gush sexuality. The moment when animality makes us gloriously human.

Marianthi Papalexandri-Alexandri

Untitled VI
für drei Männerstimmen und Klangobjekte
In Untitled VI the vocalists are singing with modified resonant tubes and motors the Greek word “akousate” that means to listen attentively. What happens when voice and singing are mediated and controlled with motor driven resonant bodies? How does this act of singing change the physical and imagined presence of the voice? How does it affect the process of intensive listening to one’s own voice, to one another, and to external sounds? Exploring these questions, Papalexandri encourages hearing the resonances between different voices and bodies.
text: Dr. Zeynep Bulut

IMME VAN DER HAAK

Имме Ван Дер Хаак
Beyond the Body

“My work focuses on altering the human form by affecting its figure with just one simple intervention. Photos of the human body are printed onto translucent silk which will create the possibility of physically layering different bodies, ages, generations and identities. In a dance performance, the moving body manipulates the fabric so the body and the silk become one, distorting our perception or revealing a completely new physical form. The movement then brings this to life.”

LINDER STERLING

לינדר סטרלינג
ЛИНДЕР СТЕРЛИНГОВ

The bodies, objects and surfaces were recognisably 21st century, but details and composition seemed oddly out of time, not least because the imagery was excised from print magazines and not from the internet, but also because the completed works so readily recalled Linder’s first photomontage experiments. Her pairings of different types of consumerist desire, which once declared themselves as critiques of misogynist objetification, are now equally a part of an abiding artistic practice. For example, looking at a particular conjunction of mock-ecstatic porn performers and ornate confectionery, we get the “message” but know too that we can only be in the obsessive, repetitive world of Linderland.